“Seth material” search engine (Jane Roberts)

(At least, I told Jane tonight after I’d remembered that I’d forgotten to clip the article for my predictions file, we know where the article is on file, where it can be located if necessary: at the newspaper office. I speculated about the reactions of public personalities when their predictions don’t work out. I hoped their errors are not rationalized, or made just for the publicity, since the psychics have to live with them. We’ll keep a lookout for any follow-up articles on the subject, but I suppose it will die like any other item in yesterday’s news. What do the predictors secretly think in such situations, though? No one is perfect. Jane hasn’t tried to predict similar events. For some of Jane’s predictions see Appendix A.

(Jane, for her part, said she didn’t particularly feel like having a session tonight, that she was “doing it just to do it.” I suggested that by all means she have it. She’s been feeling better at times, so our new program is getting some kind of results.)

That rational approach is, of course, connected now with scientific ideas mentioned earlier: life surrounded by chaos, the struggle for survival, and so forth. I do not mean to put down the intellect. It is highly important, but it is, if you will forgive me, as natural as a cat’s whiskers. It is not some adjunct to nature, but a part of it.

The magical approach takes it for granted that the human being is a united creature, fulfilling purposes in nature even as the animals do, whether or not those purposes are understood. (Pause.) The magical approach takes it for granted that each individual has a future, a fulfilling one, even though death may be tomorrow. The magical approach takes it for granted that the means for development are within each individual, and that fulfillment will happen naturally. Overall, that approach operates in your world. If it did not, there would be no world. If the worst was bound to happen, as the scientists certainly think, even evolution, in their terms, would have been impossible, of course — a nice point to put somewhere (all intently).

One note: Do have Ruburt tell you how he is doing moodwise, for now you can help him there. He must realize that relaxation is also a part of the creative process. Left alone, he would do “the right thing.” We will continue this discussion at our next session, and in the meantime be on the lookout for other hints and clues that will bring you a better idea of the magical approach.

(“Seth, of course, not only dictates his magical material — the session — but must keep the whole session in mind while doing so, so that each sentence as he delivers it makes sense compared to its predecessors, and those to follow. Quite a feat on his part, and Jane’s, once you stop to think about it. How is this possible? Seth has no script to go by, nor can he refer during the session to my own notes to check up on what he’s already said.

(“These comments about Seth’s abilities seem obvious when they’re considered as I’ve just described them, yet I don’t think I’ve thought of what Seth can do in just that way before. They make his performances all the more remarkable. See the material after 9:44 in the session of August 13, about the intellect and the ‘undisciplined and unreasonable’ intuitions. Actually, that whole session applies here.”)

“I could list hundreds of examples of what I mean. This is one of those obvious ideas that seem childish once it’s thought of. I don’t care whether or not it’s a profound thought; it has meaning for me. But as far as I know, we humans are the only species that’s obsessed with ‘change’, and ‘progress’, and ‘controlling or mastering nature’; with learning about our past and with charting our future. We strive toward an impossible, or at least rosy, future in which we will have met all of our challenges, so that we’ll live in some sort of unreal wonderland on earth. What do we do next — or will we give up on that idea too? Perhaps we’ll spend all of our time contemplating each other!

“The rabbits in our neighborhood would continue to live as usual without our help, although they might miss nibbling upon the leafy vegetables in the local gardens. The fish and all of the complex minutiae of the local river bottoms would go on living as they always have. The deer I see in the woods north of the hill house would continue to bound through the brush and among the trees. They’d live the same as ever, since it’s illegal for us to feed them — although they do like to move down the hillside at night and sample certain shrubs we have kindly planted about our houses.

“So what about acid rain, say, to name but one human creation that’s having a strong effect upon the earth’s surface and aerial environments? We’re told that it’s now evident in a number of places on earth — often downwind from certain kinds of industrial activity. As to be expected, industry owners and operators maintain that their plants have little or nothing to do with the creation of the dead lakes in the Adirondacks in New York State, for example, or in certain Canadian provinces across the Great Lakes.

“Boy, Seth,” I thought after tonight’s session, “did I go overboard in that piece! You helped me understand some things, yet what I wrote still contains truth for me, too. I’m angry because I think — I know — that we human beings have the blessed creative capacity to do so much better. So why don’t we?”

2. This session was held on August 13. Thirteen days later, Jane and I were most intrigued to read an article in a national publication in which researchers show, after eight years of tests, that not only do women do most things as well as men — they actually outperform men in many areas, both intellectually and intuitively.

“I was not conscious of my age, 61, in the dream, nor do I remember anything about being committed to draw a daily strip also. I had a much younger assistant who reminded me of Tom Lantini, an artist friend who had been a year behind me in Sayre High, our hometown school in Sayre, Pennsylvania. In the dream, I’d left certain areas blank in the panels making up the Sunday page, and my nameless assistant had done the art to fill in those places. My main character, a male who wore a tight-fitting Superman-type costume with a flowing cape, occupied a space several panels high right in the middle of the page — quite a daring concept for a comic layout. I knew the character type well because in the early 1940s, in ‘real’ life, I’d been one of the artists who had drawn the very popular comic-book hero, Captain Marvel. My dream character stood confidently facing the reader — except that I’d omitted drawing his head! My assistant had drawn the head, though, on a small separate piece of board, and protected it with a piece of tracing paper. I thought the head was too small, but well done, quite youthful with curly black hair and handsome features, as one would expect such a magical character to have. I also saw that the head was almost too youthful for the strong physique of the character I’d drawn, although I wasn’t critical of this. All that remained was for the printer to fit the head and the body together. I sat at the drawing table examining the assistant’s work.”

“Difficult to recall, and what I do recall makes no sense to me at all. In vivid color: I dreamed that Jane and I were eating at a little table in an open-air restaurant or cafe-type setting. It was a beautiful summer day. Our friend Mary came up to us. She was by herself and I don’t recall her saying anything to us. She was carrying a large sketch pad, perhaps a 22-by-30-inch size. One would expect the pages of the pad to be white, ready for drawing. Instead, as Mary lifted the cover of the pad, holding the pad out for Jane and me to see, we saw that the top page was covered by a lovely large floral pattern of leaves and flowers, as one might see on bedsheets these days. I examined several pages of Mary’s pad and saw that all of them were covered by the same design, in reds and greens, etc. The pattern made the pages of the pad quite useless for their ordinary purpose. I woke up several times with this dream in mind, telling myself to remember it.”

The individual I painted in 1968 is very similar to the magical “Captain Marvel” kind of character I created 12 years later, in my dream in 1980. I do not claim any connections between the two, although some may exist on other than conscious levels.